Tamale Dance Fever, November 22, 2013.
Tamale Dance Fever, November 22, 2013.
Style Icon: Mafikizolo’s Nhlanhla Nciza.
I just can’t let the month of August - Women’s Month in South Africa - go by without dedicating a few posts to my favourite women of Mzansi.
After a year of some serious hit-making with fellow artist Theo Kgosinkwe under the moniker ‘Mafikizolo’, in what I believe to me one of the best musical comebacks of all time, singer, songwriter, wife, mother and one half of one of the continent’s most popular groups, Nhlanlha Nciza is also a certified style icon. To call her any less would, at the very least, be an understatement.
Much like the genre of music Mafikizolo makes, Nciza’s style is a unique blend of various traditional African influences mixed with bits of contemporary African and Western fashions.
Although the band have always had an air of glamour and sophistication about them dating as far back as their Kwela, Van Toeka Af and Sibongiledays, where they channeled Sophiatown and took inspiration from other 20th century fashions, Nciza’s style has never been so bold, with her adoption of beautifully loud colours, and so distinctly representative of parts of the African continent - whether she’s wearing a gele, ankara styles common in West and Central African countries, jewelry inspired by East or Southern African cultures, silhouettes, prints, patterns and textiles from all over Africa. Not to mention how consistent her looks have been in all of their recent music videos, live performances and red carpet appearances.
But the best thing about Nhlanhla Nciza’s style has to be that, aside from looking flawless all the time, no one else can pull off what she does in the way that she does it.
Photography by MANTSE ARYEEQUAYE
As the world gets ready to “Come to the Center of the World” on August 23 & 24, we give you more images of the artists who will jamming with us at the CHALE WOTE Street Art Festival 2014.
Strolling Goats in Accra with Chale Wote 2014, DJ Steloo
So sad I never heard this song in any clubs in GH. This is probably my all time favorite GH track. I also am Asahene’s number one fan girl in America so … if they dropped this at any point anywhere I’d probably go into a dance frenzy. I was lowkey at all times hoping I’d see Asahene out at the mall or at Epo’s Spot.
sittingbeforeflowers said: I Love your blog! Now i wanna go back to ghana so badly though.
You and me both. Let’s just go together. Amerikkka is no good.
Revisiting a beautiful girl I saw on a bus stop a few years ago. I’ll be making artwork to celebrate the beauty of black youth - Blackness isn’t dangerous or ugly, and this is how I experience and see blackness today
RIP Michael Brown
Follow all of Tiffany’s beautiful drawings!
Bernard Akoi-Jackson (b. Accra, Ghana, 1979) is an internationally renowned Ghanaian artist who lives and works in Tema/Accra. After graduating from the Kwame Nkrumah University of Science and Technology with a BFA and MFA from the College of Art, his multidisciplinary artistic praxis has spanned painting, sculpture, theater, dance, installation and performance. [Click the images for title and date].
Akoi-Jackson focuses on the transformations in Ghanaian and African contemporary visual culture as well as on the question of identity. In his art, he also experiments with different materials and media, including making use of everyday objects. In 2012 Akoi-Jackson exhibited in the Time, Trade, Travel project at the Stedelijk Museum Bureau Amsterdam. In a 2014 interview with Metropolism, Akoi-Jackson stated:
My background is indeed quite nuanced. Being Ghanaian is already an exercise in a sort of ‘bricolage’ hybrid identity. To be historically aware that Africa as a continent has been the site of globalization(s) long before the concept came into mundane use in the West, is a position many tend not to adequately acknowledge…
I always quip that in Ghana, my dad hails from the Northern Region of the country, my mom from the Volta Region in the South; they met in Kumasi (capital of the Asante Region), close to the centre and I was born in Accra the capital and heart of the Ga-Dangme culture. This sense of multicultural mobility has been a constant feature of my life, but that of all my family too.
But what do you know about that traffic at Circle?
when people talk about their life’s hardships and i narrow my eyes to ask them…’but what do you know about traffic at the Accra Mall Circle pre-Accra Mall and pre-completion??’ ‘Do you even live at the end of Spintex?’
Lawwwwwwwwd. Yes. You hit it on the nail because looking at this picture of the traffic from the overpass doesn’t even begin to express/explain the reality of sitting in a car/trɔtrɔ for three hours going just one way. I be in “traffic” here in the states like “Damn. We got it easy.”
I’ve done many things in the last three months. The most important being: graduating from college, living + working in Ghana for two months, and returning back to Houston and realizing that my college degree only means as much as I want it to mean, regardless of the external associations applied to it by other friends, family, other people in Houston with art degrees, society in general, etc. Very typical post-college angst.
After a seemingly “long” period of job hunting, I threw in the towel and decided to apply to a local cafe/restaurant that I’ve been a customer at for years (eight to be specific) and also always believed was probably an ok place to work, especially in comparison to my previous restaurant work experiences. Skipping everything in-between I got the job, and shortly after the interview ran into a great friend who had graduated a year before me. Me and P always chop it up when we run into each other and the fact that I had just gotten out of an interview and would later be questioned by my coworkers-to-be did not make an exception.
While sitting and chatting with P, we discussed at length the recent huge mega fantastic success of an old coworker, the changing space + face + place of the museum we were once both employed at, how students in Houston with art degrees are literally scrapping for jobs (me and her included), and a number of projects we were both separately considering working on.
Me and P’s conversation made me realize that on top of scrapping for jobs in Houston, you have to also scrap for shows, scrap for people to write about your work, and ultimately scrap to be a personality amongst all the already well established staples of the Houston art community. With that being said, I suddenly felt extremely “secure” with the job at the restaurant. Because quite frankly, I don’t have time to bullshit with Houston’s art community. My resume isn’t littered with internships because time is money, and I refuse to let someone mine my mind for a year for free, be aware of how exploitative that process is, then cut me loose from the internship with the “experience”, maybe a publication to put on my resume/cv, and hopefully a “connection” that will speak on my behalf when it comes down to getting a job.
I’d rather work for money, get paid, and scrap on the side. And that is just what I will be doing over the course of the next 9 months.